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CRS' distribution in Gorkha district in Nepal. CRS staff distributed shelter and WASH kits to an initial 1,250 people in a village in the district, which is outside of Kathmandu and had so far not received any assistance.
On April 25, 2015, Nepal and India were struck by a 7.8 magnitude earthquake. CRS, Caritas and its local partners are responding with much needed relief in the affected areas.
Photo by Jake Lyell for Catholic Relief Services
Marvel Studios' AVENGERS: INFINITY WAR
L to R: Doctor Strange/Stephen Strange (Benedict Cumberbatch), Iron Man/Tony Stark (Robert Downey Jr.), Wong (Benedict Wong) and Bruce Banner/Hulk (Mark Ruffalo)
Photo: Chuck Zlotnick
©Marvel Studios 2018
Marilou Propinis at a temporary shelter in Les Cayes where she and her daughter were moved before Hurricane Matthew hit her home in Les Cayes. Her home, that she has lived in for her entire life was completely destroyed by the hurricane. Marilou is pictured in the room that she is sleeping in with a hygiene kit that included diapers, towels, toothpaste and toothbrushes distributed by CRS., Photo by Marie Arago for Catholic Relief Services
CRS' distribution in Gorkha district in Nepal. CRS staff distributed shelter and WASH kits to an initial 1,250 people in a village in the district, which is outside of Kathmandu and had so far not received any assistance.
On April 25, 2015, Nepal and India were struck by a 7.8 magnitude earthquake. CRS, Caritas and its local partners are responding with much needed relief in the affected areas.
Photo by Jake Lyell for Catholic Relief Services
Marvel's Captain America: Civil War
Scarlet Witch/Wanda Maximoff (Elizabeth Olsen)
Photo Credit: Zade Rosenthal
© Marvel 2016
Marvel's DOCTOR STRANGE
The Ancient One (Tilda Swinton)
Photo Credit: Film Frame
©2016 Marvel. All Rights Reserved.
#WalkInRed is an online/virtual social media campaign that takes place each year during the month of April. The idea is for #ActuallyAutistic individuals and allies to post selfies wearing red shoes, socks, lipstick, nail polish, other clothing or anything else red like food, toys, printed signs, etc. These images are meant to act as a positive beacon; making a typically blue month much happier through #love. 2015 is the first of many flashblogs and tweetstorms in the name of equality, understanding and #acceptance.
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Napoleon as Emperor of the French by Françoise Gérard after 1804
Napoleon als Kaiser der Franzosen nach Françoise Gérard nach 1804
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Marvel Studios ANT-MAN AND THE WASP
L to R: The Wasp/Hope van Dyne (Evangeline Lilly) and Director Peyton Reed on set BTS.
Photo: Ben Rothstein
©Marvel Studios 2018
Guardians Of The Galaxy Vol. 2
L to R: Nebula (Karen Gillan), Gamora (Zoe Saldana), Star-Lord/Peter Quill (Chris Pratt), Groot (voiced by Vin Diesel), Rocket (voiced by Bradley Cooper) and Drax (Dave Bautista)
Ph: Film Frame
©Marvel Studios 2017
Thor: Ragnarok
L to R: Bruce Banner (Mark Ruffalo) and Thor (Chris Hemsworth)
Photo: Jasin Boland
©Marvel Studios 2017
Yombo Fally, 13 years old, washes his hands utilizing a system incorporating a bottle that releases a slow stream of water and ash to clean their hands as part of a hygiene practice promoted by CRS and part of a pilot program in the village of Bena Mulumba, Miabi territory, Kasai Oriental Province, Democratic Republic of Congo on September 17, 2017. The CRS team is implementing a pilot program in the village as part of a five year project in the province. The pilot program is part of a CRS implemented USAID 5 year project 'Budikadidi' through the branch of the Food for Peace (FFP) and Development Food Assistance Program (DFAP). The project's timeframe, from the December 2016 - December 2021, will be implemented principally in four rural health zones of Kasai Central and Kasai Oriental, including Miabi and Tshilundu. Working with implementing partners Caritas Kananga, Caritas Mbuji-Mayi, Women' Development Network (REFED) and Human Network International (HNI), the project aims to improve nutrition and sustainable development, food security and strengthen the economical wellbeing of 263,935 beneficiaries., Photo release on file in headquarters: INT 2017 033-039
Marvel Studios ANT-MAN AND THE WASP
L to R: Cassie Lang (Abby Ryder Fortson) and Ant-Man/Scott Lang (Paul Rudd)
Photo: Ben Rothstein
©Marvel Studios 2018
Marvel Studios' AVENGERS: ENDGAME
L to R: Pepper Potts in Rescue Suit (Gwyneth Paltrow), Valkyrie (Tessa Thompson), Scarlet Witch (Elizabeth Olsen), Captain Marvel (Brie Larson), Mantis (Pom Klementieff) and Shuri (Letitia Wright)
Photo: Film Frame
©Marvel Studios 2019
Marvel Studios ANT-MAN AND THE WASP
L to R: The Wasp/Hope van Dyne (Evangeline Lilly) and Ant-Man/Scott Lang (Paul Rudd) BTS on set.
Photo: Ben Rothstein
©Marvel Studios 2018
Marvel Studios' THOR: RAGNAROK
L to R: Loki (Tom Hiddleston) and Valkyrie (Tessa Thompson)
Ph: Jasin Boland
©Marvel Studios 2017
St Mary, Kersey, Suffolk
Kersey is often described as Suffolk's prettiest village, although it might be more accurate to say that it is the county's quaintest. It sits in one of the crumpled valleys where the landscape corrugates to the north of Hadleigh, and while this village can become irritatingly overrun with tourists in summer (although nowhere as bad as when Lovejoy was on television) it is a very atmospheric place in late winter, with a chill in the air under a heavy sky, and crows calling achingly across the bleak fields. You get the impression of continuity, and that it may be a working village after all.
St Mary stands aloof from it all above the village street at the top of the hill. Beside it sits Suffolk's smallest school, and to the south the surviving evidence of a 19th century tree collector. The view northwards from it is tremendous, across the Brett valley. The tower is that of a good Suffolk cloth church, a little sister to nearby Lavenham. Because it is so grand, it makes the north aisle and nave appear rather small, which in fact they are, for take away the Victorian chancel and this is not a big church.
The north door faces the village, but the main entrance into the church is through the flushwork of the south porch, one of Suffolk's best, as at Boxford, where the grand south porch is also on the 'wrong' side of the church. The carvings in the spandrels are curious - one appears to show a tree with two fish, the other an entwined foliage crown.
Why build such a fine structure on the south rather than the north? Perhaps it was because there already was a good north porch when the late medieval donor chose to contribute a grand new one. But Simon Cotton suggests another theory. Perhaps it was intended, not for villagers, but for visitors to the shrine of Our Lady of Kersey. A Papal Bull of 1464 takes up the story: To all Christ's faithful etc, Pius II, having learned that to the parish church of St Mary Kersey (called de Pietate) in the diocese of Norwich, there was a great resort of the faithful on account of the infinite miracles which, by the merits and intercessions of the same Virgin, had been and were being wrought daily by Almighty God at a certain image of her in the said church, granted in perpetuity, under date Id March Anno 6 to all who, being truly penitent and having confessed, visited on the feasts of the Annunciation and Nativity of the said Virgin, from the first to the second vespers and give alms for the enlargement and restoration of the said church, an indulgence of three years and three quarantines of enjoined penance, the said grant to be null and void if any similar and unexpired indulgence had been granted by the said pope. If the niche inside on the north wall contained the image, then the south porch would have provided maximum impact on entry.
You step into a well-ordered, well-kept, well-fed church. Because of its location, this church receives a large number of visitors, but in fact it is not an easy church to read. There is a complexity to its developing and reordering, and much that has been preserved is no longer in situ. Broadly speaking, the interior can be divided into three parts. The nave is slender and high, a development of an earlier space at the opening of the 15th century. The wide north aisle dates from half a century earlier, a splendid Decorated space before the Black Death made us all serious. The two together make a light, square space bisected by a high, lovely arcade. The chancel is all 19th century.
What happened here? On the eve of the Black Death, a major reconstruction was begun. The north aisle was almost completed, work on the tower commenced. Then the horror of the mid-14th century intervened, and work stopped. Mortlock says that the location of the tower shows that a south aisle was also planned. It was never to be built, and before the mid-16th century Reformation finally brought all work to a stop the tower was completed and a porch built directly onto the south side of the nave. The imperative for this work being completed is explained by the shrine described by Simon Cotton above, there could be no waiting around for the money for another aisle. And then, the Reformation happened, and it all came to an end.
The north aisle remains the most interesting part of the building. There are extensive remains of wall painting, although there are almost no discernible figures or features. About halfway along the north wall is a large angel; he appears to be carrying an upside down pair of pincers, in which case it might be part of a sequence of instruments of the passion, or perhaps it is the top pivot of a balance, in which case he is St Michael. There is another remnant of wall painting in the nave, which Cautley identified in the 1930s as St George, although this would be rather hard to say certainly now. Above the arcade, you can see how the rood loft stretched across aisle and chancel arch, with a doorway between the two.
The great niche mentioned above now contains salvaged images, including part of a large alabaster trinity group, the crucified Christ being held by the Father. They are displayed behind perspex, making photography rather difficult. At the east end of the aisle, two great niches flank the altar with rescued statuary. To the left is a mutilated St Anne. On the floor here is what is claimed to be a recovered early font, but it looks rather more like a holy water stoup.
Fixed to the wall here are panels from the rood screen. Now, it is possible that all this medieval curiosae did not come from this church originally, simply because it would be so easy for a 19th century collector to have installed them here. Be that as it may, these six panels are very splendid, including one of Suffolk's best 15th Century images of St Edmund, and there are two more kings and three Old Testament prophets.
perhaps this building is more a reflection of 19th century Anglican triumphalism than it is of its Catholic past, and the historical evidence, the rood screen, ancient font, carvings and statues, are all preserved somewhat in the manner of a museum, that is to say without the liturgical integrity of, for instance, Dennington. Nevertheless, the interior is light and airy, and to its eternal credit the parish has resisted setting up one of those hideous craft shops so familiar from other Suffolk churches in tourist villages.
Perhaps the most moving thing in the whole building is the set of sedilia in the north aisle, with a squint through to the now rebuilt chancel. Look at the beautiful arcading as it intersects at the top of the sedilia. The carving peters out. It was never finished. This was where the mason had got to on that morning when news of pestilence and disaster reached the Brett Valley.
Children in the village of Bena Mulumba, Miabi territory, Kasai Oriental Province, Democratic Republic of Congo on September 17, 2017. The visiting CRS team is implementing a pilot program in the village as part of a five year project in the province. The pilot program is part of a CRS implemented USAID 5 year project 'Budikadidi' through the branch of the Food for Peace (FFP) and Development Food Assistance Program (DFAP). The project's timeframe, from the December 2016 - December 2021, will be implemented principally in four rural health zones of Kasai Central and Kasai Oriental, including Miabi and Tshilundu. Working with implementing partners Caritas Kananga, Caritas Mbuji-Mayi, Women' Development Network (REFED) and Human Network International (HNI), the project aims to improve nutrition and sustainable development, food security and strengthen the economical wellbeing of 263,935 beneficiaries., Photo release on file in headquarters: INT 2017 033-039